Margrét H. Blöndal

Margrét has found a voice that is distinctly her own and her precise and often precarious constructions are already coming together in an intensely personal oeuvre. Working with trivial materials, she arranges her objects with painstaking precision into surprising combinations that somehow seem to render them precious and inspire an appreciation for even the most unprepossessing things in our environment, an attitude that it is hard to maintain in our society of disposable consumer products.

Jessica Morgan on Margrét H. Blöndal

Margrét H. Blöndal typically uses obsolete or abandoned found material in her sculptures, such as rubber hose, deflated balloons, and cloth. Encoded in Blöndal´s found objects is a process of repeated erasure and re-inscription of value that results in a rebounding of associations and the layering of meaning or systems, all embodied in one sign.

Margrét H. Blöndal excerpt from the catalogue Material time, Working time, Living time, Reykjavík Art Festival 2005, curator Jessica Morgan

I am interested in the security we build around us and that security can vary in size and circumference. We have nature and then we have various forces of actions and we have layers of feelings and layers of unexplainable responses.

When does a work take on its own role and when is the time when you have to let go of control and start letting the work lead its own life? I work with existential matters and matters that deal with mutability, matters that deal with every day life, the vulnerability of life and the poles that are good to hold onto. There are different elements, absence and presence; verse and refrain and there are hollowed out areas where something might smolder.